Joan Mitchell’s Piano Mécanique At first glance, Joan Mitchell’s Piano mécanique appears to be nothing more than a canvas with arbitrary brushstrokes of paint. The painting, completed in 1958, is oil on canvas. There is no symmetry to the work, however it does appear to have some unity. All the brushstrokes seem to work together so that nothing feels out of place. The colors used in the painting make it somewhat dynamic; there is a combination of primaries, secondaries, and even earth tones.
These portraits are equidistant and their frames are the same and wooden. And just below each of them are two yellow papers which look like some of his painting. The one on the right is horizontal; with black vertical lines in the center of the paper and the one on the left is vertical with black vertical lines not much in the center but moved slightly up. These portraits and papers are just above the bed as the wall is slant. It looked like pine wood was used to make the bed.
Like many artists of the 1880’s, the Post-Impressionist wanted to portray “emotion and intellect as well as the visual imagery” ("Post impressionist,"). Some of these paintings were very expressive and sometimes emotional, such as the paintings by Van Gogh. The abstractness of these paintings were often underappreciated and ridiculed by society, like the works Van Gogh. It wasn’t until years later that some of these works were appreciated and valued. Many Post-Impressionism works of art were inspired by the historical events occurring at that time.
Kaitlyn Oxford Mr. Morehead Art Appreciation 12 April 2015 Compare and contrast William Harnett’s painting A Smoke Backstage, is a 7” by 8 ½ “oil on canvas painting. The painting depicts a pack of tobacco, a wooden pipe, a flyer, and some matches. The pipe is leaning against the pack of tobacco. The flyer is under the tobacco and the matches are spread about the painting. This painting is a still life and is very realistic.
Rachel Bingham Art History and Appreciation II – ARTG106 Heather Walker April 9, 2014 Formal Analysis of St. Francis in Prayer and A Geographer On April 3, 2014, a friend and I went to visit the Norton Simon Museum in Pasadena. The first painting that caught my eye was St. Francis in Prayer by Francisco de Zurbaran. It is an approximately 5’ by 4’oil painting on canvas dating back to 1638 – 1639 during the Counter-Reformation (Norton Simon). The second piece of art was a painting by the School of Caravaggio titled A Geographer. The work is an approximate 5’ by 4’ oil painting on canvas created in the 17th century during the Baroque art movement (Norton Simon).
The painting starts off from the top with different shades of light muddy brown squares that are interrupted by strokes of paint and the splatter of black. The light muddy brown color is the base of the painting, the background that neutralizes the excitement and emphasizes the other colors and shapes giving them more importance. Under the squares are two interesting circles that seem to become eyes. The eyes draws in the viewers because it almost creates the face. This face is important because it illustrates the face's emotion of wildness and excitement as well as if the face was looking at the viewers and their reaction to the painting.
They have different types of pots but the Panathenaic amphora was the most common design. The Panathenaic amphora used method of style of painting was black-figure pottery paintings, after the Panathenaic amphora is created, the artist uses a dark black paint to draw the main figure of the painting and then the artist uses brighter colors like reds and whites to detail the figure. The painting on the Panathenaic amphora was all done before baking it to insure a strong bond between the paint and ceramic, as well as to bring out the color. 3. Descriptive Analysis The Panathenaic amphora style is a very recognizable; as we can see they all followed a normal shape of an oval becoming wider at the top and slanted down to a skinner bottom with a flat base as a support.
It was extremely difficult to choose a single piece of art for this project. I ended up choosing two and comparing them. The first piece that caught my eye was Madonna of the Cherries by Quentin Massys. There is no clear indication of when the painting was made. The short description indicated that the painting was oil on panel.
Walls were painted cream or brown, and although left mostly plain, would sometimes have a thin border stencilled underneath the ceiling and in corners. Paint finishes such as ragging or stippling were common. Moquettes, velvet and leather appeared as upholstery materials, and furniture had pronounced rounded corners. The visible woodwork was usually in lighter coloured finishes. Classic white or black marble flooring is typical in an Art Deco interior, Linoleum was also a key material.
In addition, the arched and meandering lines ending in husk motifs that flank the top shell in Watteau's design have been placed lower, and some of the smallest ornamental details have been omitted. The artist used reversed copies of the prints by Cr6py and showed remarkable dexterity in cutting out very fine decoration. Allegorical figures derived from another series of French prints were pasted on either side of the door frames and in the central niche (Figures 25-27). Symbolizing seven months, these figures represent various gods and goddesses with their symbols and signs of the zodiac in a fanciful architectural frame. From left to right, starting with the left-hand door, we see Vulcan as September and Minerva as October.